Suche:the very best

Revisiting a press release for the Nightingales' last album, Four Against Fate, we recalled hesitant anticipation for the forthcoming King Rocker, a film documentary of Robert Lloyd and Nightingales, made by Michael Cumming and Stewart Lee. After forty years of activity, Robert and the band had seen hyped recordings go lost, scant commercial success. Royalties? Ha. Yet response to King Rocker was immediately positive. Fab reviews galore, a long process regaining master rights which led to a series of expanded reissues with Fire. A tour postponed three times finally took place, to fully-packed houses. It was a very good year. The band felt a degree of anxiety prior to the sessions, which took place at Valencia's Elefante Studios. With bassist Andi Schmid isolated during Covid, the band had yet begun working out individual rough sketches, typically battered into songs over a period of months. They went into a new studio blind, with a new producer, Jorge Bernabe, without rehearsals . . . and produced a top-to-bottom masterpiece. Thirty seconds in, "Sunlit Uplands", is already a classic showcasing Fliss Kitson's increased songwriting power and the core dichotomy of the groups's best songs: perverse as fuck, catchy as fuck. I � CCTV is highlighted by a fab Jim Smith astral-garage guitar riff . . . and that's a one-two punch few albums ever equal, let alone carry over to the affectionate "Frances Sokolov", Robert's ode to mentor Vi Subversa, the playground riff that underlines "Spread Yourself Out" and then "Bloody Breath", the best encapsulation of all the band's genius in developing a kind of "pop" that no other combo has ever cracked. Other highlights include the lopsided mysterious beauty of "Magical Left Foot", the courtly raver of "I Need The Money At The Time" with a wonderful motorik groove driven by bassist Andi Schmid, and the album closer, "My Sweet Friend", a rockabilly lullaby which sounds like a magical outtake from Robert's one and only solo album It's a corker, it's a marvel, it's the best Nightingales record to date. Try and deny it. Tracks: 1 Sunlight Uplands (Turn That Frown Upside Down) 2 I � CCTV 3 Frances Sokolov 4 Spread Yourself Out 5 Bloody Breath 6 Mind Of Stone 7 I Needed The Money At The Time 8 The Very Nature 9 Magical Left Foot 10 Mark Meets No Mark 11 My Sweet Friend

L7 wasn’t just one of the best all-female
bands of the late ‘80s and ‘90s; they
were one of the best bands, period,
paving the way for the grunge and
riot grrrl movements with killer songs,
crunching riffs, and badass attitude.
And their 1994 masterpiece Hungry
for Stink is arguably their best and
most consistent record, featuring
such fan favorites as “Fuel My Fire”
and “Andres,” along with “Shirley,”
their tribute to drag racer Shirley
Muldowney, and “Questioning My
Sanity,” which unflinchingly tackles the
subject of depression. Our Real Gone
reissue includes the lyric sheet that
came with the original (and very rare)
LP release, and comes in a bloodshot
vinyl pressing. Must be played loud or
not at all!

Sasu Ripatti, now sporting the new "Ripatti Deluxe" moniker, presents his very own abstract take on early rave and happy hardcore. "Speed Demon" marks the first release on Ripatti's newly launched label "Rajaton".

The Finnish word ”raja” has multiple meanings. It could refer to a ”border”, ”limit”, ”boundary”, or even ”capacity” if understood broadly. It feels that ”border” is the first interpretation that comes to mind when the word is met in isolation of additional context. It often includes political energy of some sort. Or perhaps it’s just this particular point in time that leads the mind into such field of thought.

As the Dutch author Rutger Bregman notes in his book Human Kind – A Hopeful History, the real trouble with people began when the first person had the idea of drawing a line on sand and claiming ownership of the area on their side. The concept of physical borders was born.

Naturally, there are mental borders, as well. Think about all the things you shut out because they’re ”not for you”. They are numerous and we do it all the time. The issue is not to stop that, but to recognize when to let new things in, even if they’re not commonplace. Mental borders might often be easier to rewrite than physical ones, but the challenge remains a real one.

That’s where the derivative form ”rajaton” comes to play. By simply adding the ”-ton”, all borders, limits, boundaries and capacities are lifted in an instant. We have something ”borderless” instead, and are thus free to expand our thinking.

One could argue that the word ”rajaton” implies not the removal of borders but instead their very non-existence at large. How will our mind work when the concept of borders doesn’t even enter the conscious thought?

Mental borderlessness is a truly fascinating concept. A maximalist array of opportunities and potential ideas enters the picture – one which is also limitless, unlimited, sans boundaries, and also without a danger of being depleted. It’s an all-existence of multitudes where hierarchy also starts to deteriorate, giving way to a new form of full understanding without judgement.

Music is one fine place for such thinking, especially when thinking about the role of the listener. Occupying a much more active position than is generally recognized, the listener can greatly benefit from borderless thinking, and thus help to enhance the collective perceived significance of any given body of work. When there are no boundaries, the interpretation remains unchained and honest.

Basically it was all already said by the late revolutionary jazz pianist Burton Greene: ”Borders are boring!”

“The Icelandic artist with the crystalline falsetto” - NPR
“From the luminous and atmospheric soundscapes
that he cultivates, to his meticulously chosen phrasing,
there is a distinctive sense of circumstance and
identity ingrained within his very nature” - The Line Of
Best Fit
As one of Iceland’s most successful exports, singersongwriter Ásgeir has spent the time between his
record-breaking debut and today pushing the
boundaries of his textured, thoughtful brand of folkpop.
New album, ‘Time On My Hands’, sees Ásgeir in a
state of self-reflection and experimentation, having
spent much of the last few years in his home and in
the studio deeply engrossed in writing, recording,
translating and producing.
On this album he’s entered new realms of composition,
sensitively layering acoustics with electronics and
brass.
As with some of his previous work, most notably
2017’s ‘Afterglow’ and 2020’s ‘Bury The Moon’, Ásgeir
plays with euphoric and choral elements of electronic
pop music while keeping a tight grasp on the
introspective, vocal-led style of the acoustica that
made him famous.

Debut album re-issue on vinyl! Severe Torture’s die-hard classic! Severe Torture is the most brutal and sick band from the Netherlands, plain & simple. This album is all about fast passed drumming, catchy, technical fast picking riffs and deep vocals. This is brutal death metal at its very best, and is evenly balanced, full of god-hating, and gut-ripping. There is even melody, but nothing like the melody used in melodic Death Metal. It is enough to send any typical run-of-the-mill trendfaggot running for cover and praying for safety, which will not come, for his eardrums shall be split and liquified, and his brains thrashed to trash.

HIGHLIGHTS FINALLY, the highly sought-after and fun 'Drácula Yeyé' by Andrés Pajares is being officially reissued on a 7" vinyl single for the first time. The version recorded by the Spanish band Doctor Explosión in the 90s helped to popularize this song that has already achieved the status of garage-yeyé holy grail. On the B side the stunning garage-beat number 'Caperucita Yeyé' brings together some of the best artists of the Spanish-sung yeyé scene of the 60s: singers Marta Baizán, Miguel Ríos and the Venezuelan garage band Los Impala. Two highly sought-after garage-yeyé songs on a double-A-side single, essential for lovers of 60s sounds. DESCRIPTION Mainly known for his career as an actor, especially during the post-dictatorship years and through his "soft-erotic" comedy films, the popular Spanish comedian Andrés Pajares also recorded several records since the mid-1960s. Among them, "Dracula Yeyé" is THE song that has conquered selected dancefloors worldwide and has been on the wants lists of 60s sounds collectors and DJs for years. A rare artifact that was originally released in 1968 and whose original copies are very scarce and currently fetch exorbitant prices in the second-hand market. The later version recorded by the Spanish band Doctor Explosión in the '90s helped to make this record better known so that has already achieved the status of Spanish garage-yeyé holy grail. The single is completed with another fun and surprising yeyé song on the B side that could well be the main track of this release since it brings together some of the best artists of the Spanish-sung yeyé scene of the 60s: singers Marta Baizán, Miguel Ríos and the Venezuelan garage band Los Impala. All of them were the uncredited artists involved in this recording that was originally released as a children's record, with the musicalized narration of the classic tale "Little Red Riding Hood" that these musicians turned into a stunning garage-beat hit. Both songs are reissued here on a 7" single for the first time.

ZYX Italo Disco: Best Of : DIE neue Vinyl-Compilation-Serie für unsere weltweiten Italo Disco Fans geht in die 4. Runde. Natürlich gibt es diese Ausgabe auch wieder als 2LP-Set in farbigem Vinyl .16 unvergessene Hits und Raritäten aus den 80er Jahren in bester Soundqualität.

"Bobby Dove is a gifted artist, and a brilliant new light on the songwriting scene - A time traveler, Bobby's songs meld genres with the touch of a master - I am a fan" – Mary Gauthier.Bobby Dove has built a following across Canada and beyond Born in Montreal, Quebec, Bobby has become known as one of the country's most dedicated troubadours, crooning live audiences with heart- worn originals, and paying tribute to the golden age of Country music. Along the road, Bobby has worked with a number of legendary players, and shared stages with artists such as Mary Gauthier, Richard Thompson, Irish Mythen, The Sadies and JD Mcpherson.

Bobby Dove's new album, Hopeless Romantic, offers eleven new
original Americana/Country songs on subjects such as unrequited love, being on the road, a haunted hotel and a hard-rocking pallbearer. Co-produced with Bazil Donovan (Blue Rodeo) and Tim Vesely (Rheostatics) at The Woodshed studio in Toronto,On, the record includes some of the finest in Canadian Country music including members of Blue Rodeo Jim Cuddy, Bazil Donovan and Jimmy Bowskill (The Sheepdogs, Blue Rodeo), and Burke Carroll (Kathleen Edwards).

The Dove is currently perched in western Manitoba, supporting the launch of Hopeless Romantic, as well as releasing The Bobby Dove Show, a virtual variety show, featuring Bobby's new songs, and interviews with renowned roots/Country singer- songwriters from across Canada. Sponsored by the Canada Council for the Arts, the show can be streamed on Bobby's social- media as well as on bobbydove.

"Dove can write rings around all but the very best of troubadours, telling stories in a compelling way…. This is very impressive indeed and I suggest you get Bobby Dove on your radar immediately." – Country Music People Magazine

A deluxe, remastered, 20 year anniversary edition of the Heads’ third album proper, the under-rated gem in their canon that is “Under Sided”.

Originally released in 2002 on the Sweet Nothing label (SNLP/CD 11), Under Sided was recorded in 2001 at WhiteHouse Studios in Weston Super Mare, with Martin Nichols engineering. The band had previously recorded tracks for Mans Ruin 10” at these studios (also famous for Ripcord, Heresy, Slowdive, Hardskin, Decadence Within, Icehouse.. amongst many others!).

For the reissue, the original recordings were remastered for vinyl and CD by long time Heads Masterer (!) Shawn Joseph. The resultant 8 tracks, spread over 4 sides of vinyl are some of the best music the Heads have recorded, after a bit of a hiatus following their 2000 US tour / Peel session (included in the boxset / on the 2CD version here), the band regrouped and worked out the tracks for the album, relentless rehearsing for the recording. Very few shows happened in that 2001-2002 timeframe.. band members were busy, earning a living, getting on with life, but they still had some riffs/songs there.

Upon release in 2002 the album got great reviews in the press, from Kerrang and MOJO to the Sunday Times, all helping the Bristol fourpiece confirm their cult status, which has continued to current times..

The remastered album is being reissued as a 4LP + 2CD boxset. The extra 2LP features their Peel session from 2000, as well as a couple of compilation tracks (For Mad Men Only / Born To Go), and some unreleased demo versions, as well as 2 exclusive to this set CDS that feature nearly 150 minutes of Live recordings (mastered, but RAW!) from their gigs on the Thekla in Bristol and rehearsal room tapes in 2001 and 2002.
The boxset will also have a special slip-mat, stickers, and a 24 page booklet of photos /writings, including recollections by each band member, and others including Stewart Lee.

Under Sided is a pounding sike-nightmare that shows the Heads at the peak of their powers, there’s a flow throughout the album of melding psychedelic noise rock to unrelentin rhythms and creating a bad trip for all listening.. open battering-ram “Dissonaut” is a staple in their live shows to this day… even the gentle sooth of “Energy” is enveloped by a white noise fury.. the intensity of some of the tracks: the terror inducing “Bedminster” or “False Heavy” (a tour worn riffmonger from 2000) or the Magnet-esque “Heavy Sea”, showed the band as ferocious as any of the insurgent “stoner” genre of that time.

They were never going to make their living out of touring, record sales… as Hugo mentions in his notes for the booklet, “.. we had less boundaries and felt we could experiment more and not worry about commerciality…” but they were able to make this album.

A deluxe, remastered, 20 year anniversary edition of the Heads’ third album proper, the under-rated gem in their canon that is “Under Sided”.

Originally released in 2002 on the Sweet Nothing label (SNLP/CD 11), Under Sided was recorded in 2001 at WhiteHouse Studios in Weston Super Mare, with Martin Nichols engineering. The band had previously recorded tracks for Mans Ruin 10” at these studios (also famous for Ripcord, Heresy, Slowdive, Hardskin, Decadence Within, Icehouse.. amongst many others!).

For the reissue, the original recordings were remastered for vinyl and CD by long time Heads Masterer (!) Shawn Joseph. The resultant 8 tracks, spread over 4 sides of vinyl are some of the best music the Heads have recorded, after a bit of a hiatus following their 2000 US tour / Peel session (included in the boxset / on the 2CD version here), the band regrouped and worked out the tracks for the album, relentless rehearsing for the recording. Very few shows happened in that 2001-2002 timeframe.. band members were busy, earning a living, getting on with life, but they still had some riffs/songs there.

Upon release in 2002 the album got great reviews in the press, from Kerrang and MOJO to the Sunday Times, all helping the Bristol fourpiece confirm their cult status, which has continued to current times..

The remastered album is being reissued as a 4LP + 2CD boxset. The extra 2LP features their Peel session from 2000, as well as a couple of compilation tracks (For Mad Men Only / Born To Go), and some unreleased demo versions, as well as 2 exclusive to this set CDS that feature nearly 150 minutes of Live recordings (mastered, but RAW!) from their gigs on the Thekla in Bristol and rehearsal room tapes in 2001 and 2002.
The boxset will also have a special slip-mat, stickers, and a 24 page booklet of photos /writings, including recollections by each band member, and others including Stewart Lee.

Under Sided is a pounding sike-nightmare that shows the Heads at the peak of their powers, there’s a flow throughout the album of melding psychedelic noise rock to unrelentin rhythms and creating a bad trip for all listening.. open battering-ram “Dissonaut” is a staple in their live shows to this day… even the gentle sooth of “Energy” is enveloped by a white noise fury.. the intensity of some of the tracks: the terror inducing “Bedminster” or “False Heavy” (a tour worn riffmonger from 2000) or the Magnet-esque “Heavy Sea”, showed the band as ferocious as any of the insurgent “stoner” genre of that time.

They were never going to make their living out of touring, record sales… as Hugo mentions in his notes for the booklet, “.. we had less boundaries and felt we could experiment more and not worry about commerciality…” but they were able to make this album.

A deluxe, remastered, 20 year anniversary edition of the Heads’ third album proper, the under-rated gem in their canon that is “Under Sided”.

Originally released in 2002 on the Sweet Nothing label (SNLP/CD 11), Under Sided was recorded in 2001 at WhiteHouse Studios in Weston Super Mare, with Martin Nichols engineering. The band had previously recorded tracks for Mans Ruin 10” at these studios (also famous for Ripcord, Heresy, Slowdive, Hardskin, Decadence Within, Icehouse.. amongst many others!).

For the reissue, the original recordings were remastered for vinyl and CD by long time Heads Masterer (!) Shawn Joseph. The resultant 8 tracks, spread over 4 sides of vinyl are some of the best music the Heads have recorded, after a bit of a hiatus following their 2000 US tour / Peel session (included in the boxset / on the 2CD version here), the band regrouped and worked out the tracks for the album, relentless rehearsing for the recording. Very few shows happened in that 2001-2002 timeframe.. band members were busy, earning a living, getting on with life, but they still had some riffs/songs there.

Upon release in 2002 the album got great reviews in the press, from Kerrang and MOJO to the Sunday Times, all helping the Bristol fourpiece confirm their cult status, which has continued to current times..

The remastered album is being reissued as a 4LP + 2CD boxset. The extra 2LP features their Peel session from 2000, as well as a couple of compilation tracks (For Mad Men Only / Born To Go), and some unreleased demo versions, as well as 2 exclusive to this set CDS that feature nearly 150 minutes of Live recordings (mastered, but RAW!) from their gigs on the Thekla in Bristol and rehearsal room tapes in 2001 and 2002.
The boxset will also have a special slip-mat, stickers, and a 24 page booklet of photos /writings, including recollections by each band member, and others including Stewart Lee.

Under Sided is a pounding sike-nightmare that shows the Heads at the peak of their powers, there’s a flow throughout the album of melding psychedelic noise rock to unrelentin rhythms and creating a bad trip for all listening.. open battering-ram “Dissonaut” is a staple in their live shows to this day… even the gentle sooth of “Energy” is enveloped by a white noise fury.. the intensity of some of the tracks: the terror inducing “Bedminster” or “False Heavy” (a tour worn riffmonger from 2000) or the Magnet-esque “Heavy Sea”, showed the band as ferocious as any of the insurgent “stoner” genre of that time.

They were never going to make their living out of touring, record sales… as Hugo mentions in his notes for the booklet, “.. we had less boundaries and felt we could experiment more and not worry about commerciality…” but they were able to make this album.

Since the release of 2020’s acclaimed ‘The Cause of Doubt & a Reason to Have Faith’, London based Lookman Adekunle Salami has been busy working on the eagerly-awaited follow up and today has released the first taste of what’s to come in the form of new single ‘Desperate Times, Mediocre Measures’. After four studio albums and with well over 35 million streams, Salami’s music continues to push genre boundaries and is certainly no stranger to spoken word - ‘Desperate Times, Mediocre Measures’ sees him return to this method as he waxes poetically about the state of power and wealth in the modern world; "Desperate Times, Mediocre Measures" is a song that tackles the idea of the cyclical and corrosive nature of power structures across our societies - Hierarchical Structures that, like all structures in our reality, are made up of, and reinforced by people who find themselves, more often than not, enforcing the very corrupted elements of those structures purely due to the fact that this can become the prime method of propping themselves up.” Very much a shift in a new musical direction, Lookman enlisted the help of renowned string arranger Stephen Bentley-Klein, who has worked with the likes of John Barry and Deep Purple, to provide the lush orchestration which works in perfect tandem with Salami’s thought provoking word play. L.A. Salami’s message is - once again - a highly interesting insight into the pitfalls of today’s society, constantly proving how is he is an artist we should all be paying serious attention to.

Erlend Apneseth is one of Norway's foremost Hardanger fiddle players and folk musicians. After being widely recognized with the award-winning and critically acclaimed Erlend Apneseth Trio, he now returns with an acoustic soloalbum. This is the first time since his debut album "Blikkspor" (2013) that he has put the soloistic performance in focus, and this time the unique acoustics in Emmanuel Vigeland's Mausoleum sets the scene for his improvisations and compositions. "The Hardanger fiddle is traditionally a soloistic instrument. For me, one of the most fascinating things about the instrument is its ability to fill a whole room with sound all by itself. Even though I've been working in an electro-acoustic universe the last years, I've never left the acoustic approach to the Hardanger fiddle, and I now felt the time had come to do something all alone again." Even though Apneseth is rooted in traditional music, he has immersed himself in improvisation and alternative sonic-and pizzicato-technics on the Hardanger fiddle, which makes him stand out with his very own musical expression. After incessantly exploring his instrument for many years, this album can be seen as a personal catalogue of the Hardanger fiddle's sonic possibilities. Erlend Apneseth has released eight albums, received numerous awards, among them "Grappas Debutantpris" and "Gammleng-prisen", and no less than five nominations for the Norwegian Grammy's. In 2019 he received the Norwegian Grammy's award in the Open Cathegory for his album "Salika, Molika", with Erlend Apneseth Trio and Frode Haltli. The album also received the NOPA-award and was nominated for the Nordic Music Prize. Apneseth has written commissioned works for Kongsberg Jazzfestival, Fordefestivalen and Ultima, and toured extensively in Europe the past years. Since 2021 he has collaborated with the composer Orjan Matre on new works for Hardanger Fiddle and The Norwegian Chamber Orchestra.

October 18, 1987 was a very special day for the two brothers - and star
jazz musicians - Michael Brecker and Randy Brecker
For years both had conquered the stages of the world together with their band
The Brecker Brothers and earned the reputation of being among the world's
leading jazz musicians on their instruments, the saxophone and the trumpet. On
that evening in the legendary Hamburg factory, both were on stage together for
the first time, each with their own band. 'Live at Fabrik Hamburg 1987' features
the top- class ensemble: Randy Brecker (trumpet), Bob Berg (saxophone), David
Kikoski (piano), Joey Baron (drums) and for the first time at the beginning of his
career Dieter Ilg (bass).
The other recording that features: Michael Brecker (saxophone), Mike Stern
(guitar) Jeff Andrews (bass), Adam Nussbaum (drums) & Joey Calderazzo (keys)
is available on a separate LP2. You will find both concerts together on the 2CD
set.
Quite simply historic concerts at a historic venue.
Randy Brecker writes about it: "These concerts were many years ago, and we
both were on long Euro tours of one nighters, so I think we both tried to put on the
best show we could, to outdo the other (in a good way!) Amazing to me how at
that point in time we were on different paths, I'd had that band with Berg, Kikoski,
Ilg and Joey Baron, for a while, acoustic, more "straight ahead" as we say, while
Mike was on uncharted territory with a new band...this might have been their first
Euro tour so the competition was on, at one of our favourite places to play:
'Fabrik' in Hamburg!...So let the games begin!"

Newly remastered from the original vinyl at Gearbox Studio with extended
liner notes and new information, The Joe Harriott Quintet’s ‘Swings High’,
recorded in 1967, saw Joe returning to his hard bop roots on a set that
burns with a rare light
A top band of British jazz players, including the UK’s greatest drummer, Phil
Seamen, and the sensitive and less-known-than-it-should-be trumpet playing of
Stu Hamer, create a session that transcends the difficulties of its recording to
create a timeless session, and from the point of view of pure playing, one of Joe’s
very best.
Joe Harriott: alto saxophone
Coleridge Goode: bass
Phil Seaman: drums
Pat Smythe: piano
Stu Hamer: trumpet
“Joe plays so fiercely on the record that at times it seems as though he’s about to
blow his alto apart.” - Coleridge Goode
“Shepherd's Serenade always a big one! great reissue.” - Gilles Peterson
"Some might say that this music is old- fashioned. If you’d call Bird and Fats
Navarro playing “Ornithology” old-fashioned, then this is too. But it’s still strong,
warm music played with skill and feeling, and that’s enough for me." - Richard
Williams (1970)

Holy Now is one of the finest indie bands to have emerged from Sweden
in recent years
Perfect yet deliberately off, dreamy indie pop with Julia Olanders voice at the
center. On August 26th, they'll release their new album via Lazy Octopus Records
(AOP, Therese Lithner, MANKIND etc.)
2018 debut album "I Think I Need The Light" and follow-up EP "It Will All End In
Tears" were acclaimed both internationally by prominent media, such as Gold
Flake Paint, Gorilla Vs Bear and Line of Best Fit.
On the band's second studio album "Dream of Me", out this fall via Lazy Octopus,
the building blocks remain: crisp reverb-drenched guitars, dreamy choruses and a
very analog feel. It also showcases a new side of the band that is more
withdrawn, dressed in sparse soundscapes, with a lot of focus on lyrics, a song
for anyone who wears their heart on the outside.

After the success of 'Chet Baker Sings', the first vocal album, Chet Baker
continued recording vocal tracks, this LP presents the very best of them,
none of which appeared on his debut vocal LP
14 tracks on limited edition 180g vinyl with William Claxton photos from
sessions. Includes such hits as "Let's Get Lost", "Just Friends", and "You Don't
Know What Love Is".
Featuring Russ Freeman, Bobby Timmons, Kenny Drew, Sam Jones, Bud Shank,
Charlie Mariano, Pepper Adams, Monty Budwig, Mel Lewis, Philly Joe Jones,
Shelly Manne and many others.

"Nothing's Going Wrong" is Martha's sophomore album on Blind Faith Records, backed by the mighty Italian Royal Family and produced and mixed by Luca Sapio at Blind Faith Recordings studio. The super solid back beat and the lush horn arrangements evokes the golden era of the Italian movie soundtracks (inspired by Piero Piccioni, Ennio Morricone and Luis Bacalov). Lyrically the album is very much inspired by the socially and politically conscious records made by the likes of Marvin Gaye, Gil Scott Heron and Curtis Mayfield in the mid 70s. A hidden gem proudly shines through in the song ‘ I’ve Still Have A Lot To Learn’; Italian maestro Antonello Vannucchi (leader of the Marc 4 band and keys player behind thousands of iconic Italian soundtracks), has laid down a stellar Hammond B3 take on the melancholic ballad, sadly it was his very last recording session before passing away. Every once in a while an album comes along, and this is one of them, that is beyond what is currently fashionable at any given time, which evokes the best sounds of the soul golden era, combined with Italian soundtracks of the 60s; infuse them together and you get a funk/soul masterpiece, showcasing one of soul music’s most precious gems- Miss Martha High.